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This is a truly kind and generous thing you have done, Zazerz. It has been 80 years since the author's death, and this is being published here purely in an educational interest, not for profit or gain, so I do believe you are more than covered across the board, copyright wise.

A sincere thanks to the author, Frank Morley Fletcher, as this is truly a nice little gem of color theory. I know I will enjoy reading it through and practicing...

(If anyone else appreciates Zazerz's efforts, please click the little "Thanks" button in the lower RH corner of his post, so the Powers That Be can see the benefit of this...)
~M

Change is Inevitable, Growth is OptionalI am The Choosen One!Jason sez: Draw more from Life!

I would really appreciate if this thread could be expanded a little.
Like bringing some examples of color use und what the book shows in direct use.

Why is it useful even for digital art to make up a color palett first ?

And in how far can that affect my picture ?
Usually I just start painting, trying a lot out and seeing what color or value works best. Then I try more like laying anothe layer over it and playing with the blend-options.... Until it comes to a point where I think it looks ok now.
At the moment I think my way of working is some kind of messy.

Why is it useful even for digital art to make up a color palett first ?
And in how far can that affect my picture ?
Usually I just start painting, trying a lot out and seeing what color or value works best. Then I try more like laying anothe layer over it and playing with the blend-options.... Until it comes to a point where I think it looks ok now.
At the moment I think my way of working is some kind of messy.

True the info about mixing colors when it comes to digital work doesn't apply that much. Since in digital format selecting a color is more choosing and sliding values instead of mixing.

Where it helps digitally is controlling what colors you choose to add to a picture. With the key system Fletcher describes, you pick your key color and that then dictates what colors would go harmoniously together.

I agree that some examples could help. here is a link to examples that have been done using this system.Its a collection of student work, included in the slideshow are paintings and exercises appling the Fletcher principles. Check em out.

The Following User Says Thank You to briggsy@ashtons For This Useful Post:

It's amazing how there are a few things that enable a former Barnstone Student recognize another former Barnstone student. The Fletcher System is one of those things. There's several things Myron Barnstone has to offer that I haven't found in any other school. One is the Fletcher System. The Second is a thorough and intimate understanding of Classical Design related to the use of the Golden Section, Dynamic Symmetry, Sacred Geometry (whatever you wish to call it) and it's related design systems. One of his former students, Juliette Aristides, has two books out that contain a lot of his information. The third is an uncompromising attitude and the most exacting standards that really forces what he's teaching to become second nature.

Thanks, Zazerzs, for sharing this information. When did you study with Myron? It's possible that I know you.

It's true that this info won't really help digital painters in terms of color mixing, since digital color mixing is somewhat different. For anyone that works in more traditional mediums I would definitely recommend playing around with it as it helps one avoid mixing muddy color and gives one a range of really subtle and delicate neutrals that you can't get easily any other way. But play around in oils, as the slow drying time will really enable one to see all the possibilities without having to worry about the paint clumping up on you.

For the digital artist I think it's still helpful in terms of color organization and color composition.

"Contrary to the belief of the layman, the essential of art is not to imitate nature, but under the guise of imitation to stir up excitement with pure plastic elements: measurements, directions, ornaments, lights, values, colors, substances, divided and organized according to the injunctions of natural laws. While so occupied, the artist never ceases to be subservient to nature, but instead of imitating the incidents in a paltry way, he imitates the laws."-Andre Lhote

The Following User Says Thank You to jpacer For This Useful Post:

@ briggsy I'm not sure. I'd like to know that too.I searched for a while to try to find an original, I've seen them rarely 2nd hand but they have been pretty expensive. I'm glad I held onto this photocopy for almost 20 years :0

@jpacer ya got me! I hope he wouldn't be pissed with me sharing the info.

100% agree. Myron changed my life.

I was there around 92-93. Always wanted to go back but being on the west-coast since I left Coply has made it not possible.

ohh thanks for posting this! sometimes i forget my copy of it at school. I go to the Performing Arts High School and both of my teachers have studied with Barnstone. The Fletcher has improved my color mixes greatly, I'm in love with color nuances! now if only they had online color wheels so i wouldn't have to carry mine everywhere.

The Following User Says Thank You to Sepulverture For This Useful Post:

I doubt he'd be pissed. As far as I know that text is public domain. The other, more well known, book by Fletcher on woodblock printing is even available at Project Gutenberg I believe (don't quote me on that). I like to think he'd appreciate the fact that the information is being spread around.

"Contrary to the belief of the layman, the essential of art is not to imitate nature, but under the guise of imitation to stir up excitement with pure plastic elements: measurements, directions, ornaments, lights, values, colors, substances, divided and organized according to the injunctions of natural laws. While so occupied, the artist never ceases to be subservient to nature, but instead of imitating the incidents in a paltry way, he imitates the laws."-Andre Lhote

The Following User Says Thank You to jpacer For This Useful Post:

Regarding the Fletcher Method. I think this method works best when used in conjunction with an observational method such as the Munsell system. At least when it comes to observational painting. While the text attempts a similar section, it is in many ways lacking comparatively. However I have found the book quite brilliant when dealing with the wonderful nuances of color harmony.

Barnstone?

While having not attended his atelier I am very familiar with what he teaches and he is an impressive man through and through. I am from the Chadds Ford area of PA and as such have met many students of his. What a wonderful intense place from what I hear. Here is quote his students might be familiar with:

"Talent is a word found in the mouth of the lazy to dismiss the hard work of those who have achieved."